Retro Reviews: Herbie Hancock: Maiden Voyage

     I decided to launch a new series to imagine myself as a critic at the end of the 60s and start of the 70s, and to rectify certain reviews from Rolling Stone magazine and Creem. This not meant to be contrarian, but to offer a more balanced perspective. Some of the albums reviewed are lesser known titles.

Herbie Hancock: Maiden Voyage (1965)

*****

Producer: Alfred Lyon

Musicians: Herbie Hancock, Freddie Hubbard, George Coleman, Ron Carter, Tony Williams

Music: Maiden Voyage, The Eye Of The Hurricane, Little One, Survival Of The Fittest, Dolphen Dance

Reviewed By Matthew Anthony Allair

    Herbie Hancock has quickly moved up the ranks of the jazz field since he launch his first album for Blue Note in 1962. By the summer of 1963 he was thrust into attention as the pianist of Miles Davis. While they were mostly live dates, he did appear on a few sides of Miles Seven Steps Of Heaven album of that year, yet he still recorded his own Inventions & Dimensions, and Empyrean Isles last year. That fourth album featured The Tony Williams, Freddie Hubbard and Ron Carter line up, they all seemed in perfect synch to Hancock’s sensibilities, which makes this new album all the more interesting. Hancock has shown an uncanny knack to writing pieces that other players engage with, and while he is still exploring the modal jazz aspect of the scene, one senses that there’s an openness and expansiveness to his approach that one shouldn’t dismiss.

    The new album has plenty of astonishing moments, of the five tracks, there’s something interesting offered with each.  The opening title track has a searching quality, with a good Coleman solo, Hubbard’s solo is a slow burn, but it’s something special. One can hear Hancock playing off of Hubbard’s arpeggio’s as it’s progresses. Hancock’s solo takes a nod to Bill Evans, while also being expansive, Willliams cymbal work opens up at this point and it’s a delight. The more up tempo “The Eye Of The Hurricane” has a brief head before Hubbard is showcased first. The chemistry between Williams and Carter is undeniable as a rhythm section. Coleman ups his game on the number. Once again, Hancock seems to embrace not only modal playing but the free jazz sensibility with his soloing, there’s also a hint of Monk in there. The slower and more pensive “Little One” takes it’s time and closes out the first half.

    The next number “Survival of the Fittest” opens the second half and seems to fall into the spirit of free jazz more. But there’s still a focus and structure that differs from Ornate Coleman. Hubbard takes the first lead, Williams takes an early drumming lead before George takes over. Coleman’s lead might  be his strongest yet with some playful start and stops throughout. The title of the number is reflected with the image of oceanic animals in their struggle and dance to prevail. Hancock and Williams seem to be playing off one another by the mid point. The piece ends on a more outside, cryptic note. The final track, “Dolphin Dance” takes things down a little, after the opening statement, Hubbard again reveals why he is so highly regarded. Once again, Hancock’s solo takes an expansive view.

    It's no surprise that Miles Davis took such a liking to Herbie’s composing and playing, there’s an introspection to his work that Miles likely matched up with. There’s a loose oceanic theme to the material on this album. I don’t know why pop fans are so daunted by modern jazz records, there’s a lot to take in if you have the ears for it. Hopefully others will agree with me that is this Hancock’s most cohesive album yet. Highly recommended.